Estimate

5.000 - 10.000

Session 1

21 October 2024

Description

Comprising of two cruets, a mustard pot, a sprinkler and four faceted crystal jars
Silver 950/000 frame, mounts and covers
Neoclassical decoration with WEM monogram
London city mark for 1807 and goldsmith's mark Paul Storr (regd. 1807)
(light wear)

29,5x39,5x24 cm
1712 g (estrutura)

Category

Silver

PAUL STORR, “THE LAST OF THE GREATEST GOLDSMITH’S”

Contextualizing English Goldsmithing in England followed a development path that was moulded by such diverse historical and social events as the introduction of Protestantism and the English Civil War. Both were crucial for the destruction of immense quantities of gold and silver objects, especially those of religious use produced before the 16th century. Such fact is evident from the analysis of contemporary inventories, which list a much higher number of precious metal objects than those recorded nowadays. During the Renaissance, a period characterized by growing demand for decorative and utilitarian silverware, English goldsmiths were able to maintain their identity while simultaneously preserving the quality of their products. At the onset of the 17th century, however, due to the country’s political and economic turmoil, a loss of quality eventually ensued. Following from the restoration of the monarchy, in 1660, goldsmithing was once again revitalized due to the need of replenishing the treasury after the immense losses suffered during the Civil War (1642-1651). T he English silver market was also characterized by a particularity that set it apart from other countries, in that major silverware commissions were not exclusive to the Royal House. Mainly from the 1660s onwards, both the nobility and the wealthy bourgeoisie performed a crucial role as goldsmiths’ patrons and customers. This social phenomenon became evident when the new emerging classes began acquiring silver objects, not only for their daily use, but also as pure ostentation of their rising social status. These social changes did also reflect the increasing access to luxury goods, propelled by the growing commercial wealth and the British Empire expansion. T he revoking of the Edict of Nantes, on October 23rd, 1685, by King Louis XIV, was the other crucial event in the history of English goldsmithing. The f light from France of many Huguenot goldsmith’s - French protestants - that settled in the British Islands bringing with them new techniques and styles, would modernize Britain’s artistic panorama. It was in the decades that ensued, a period of change and cross-cultural and artistic influences, that the life and work of Paul Storr developed. Paul Storr (1771-1844) Paul Storr was one the most relevant English goldsmiths of the late 18th and early 19th centuries. Known for his technical ability and creative freedom, Storr started his training as an apprentice to the Swedish silversmith Andrew Fogelberg at the former’s workshop at 30 Church Street, in London’s Soho. In 1792, on completing his training, Storr also attained his freedom. In that same year he started a partnership with William Frisbee, having registered the joined mark WF over PS, based at 5 Cock Lane in Snowhill. This association, however, would be short lived. On January 12th, 1793, Storr registered his own mark, PS, returning to the former premises at Church Street. This mark, with few modifications, remained in use up until 1838. In 1796 he again moved his workshop, this time to Air Street in Piccadilly, and it was at this address that his fame exponentially grew among the British wealthy classes. Producing luxury and desirable goods such as cups, vases and wine coolers, Storr established himself as one of London’s main goldsmiths. His competence would attract the attention of the influent jeweller Philip Rundell who persuaded him to practice in his workshop. Consequently, in 1807 he moved to Dean Street, again in Soho, and founded Storr & Co., maintaining his creative identity despite being associated to Rundell. But somehow, this partnership restricted Storr’s autonomy. Furthermore, to fulfil the many royal and aristocratic commissions, he had to become involved in supervising what was in fact close to a serial production. On the other hand, in many of the firm’s most important works, the inscription "Rundell, Bridge et Rundell Aurifices Regis Londini Fecerunt" (Made by Rundell, Bridge & Rundell, Goldsmith’s to the King in London), obscured the Storr surname. It was this continuous and increasing control over his own talent that drove him to close the firm in 1819. In his quest for independence and artistic creativity, Storr would open a new workshop and store in 1822. It was from there that he produced one of the most relevant commissions of his career; the 180-cover dinner table set for Henrique Teixeira de Sampaio (1774-1833), a Portuguese diplomat, merchant and 1st Count of Póvoa. This famous set, a superb illustration of the master’s imagination and fine artistic skill, included a pair of splendid candelabra considered two of the most spectacular pieces ever created by Storr. Also from this period dates Storr’s partnership with John Mortimer, an association that enabled the opening of a showroom in London’s West End, a strategic location for exhibiting and selling his artworks to the desired elite clientele. Mortimer was responsible for the business commercial management while Storr assumed the production. A third partner, John Samuel Hunt, Storr’s nephew, joined the firm, which became Mortimer & Hunt. After a restructure in 1838 it would once again change to Hunt & Roskell, while still maintaining the prestigious Storr & Mortimer denomination. Paul Storr’s production Paul Storr’s artistic production was widely acknowledged for its expertise in combining functionality and art, a compromise that made him the last great goldsmith of his age. His technical mastery and aesthetic awareness were a vehicle to produce objects that not only met practical daily needs but were conspicuous and unashamed symbols of status and power. Storr was able to mutate utilitarian objects such as salvers or coffee pots, into genuine works of art, ornamented with classical, gothic or rococo motifs, according to the demands and taste of his clients. Much of Storr’s production is now held by some of the most renowned worldwide collections, including the Royal Collection Trust, but major examples of his stylistic versatility can also be found at the Medeiros e Almeida Museum in Lisbon. Amongst these are candelabra, ceremonial cups, salvers and a wide range of other objects, that illustrate the exceptional sophistication reached by the master. Paul Storr’s relevance for the history of English goldsmithing is unquestionable. He not only influenced his contemporaries but has left an enduring legacy. His production reflects the convergence of European artistic traditions with the unique identity of English silver production, defined by the technical precision and attention to detail that set it apart from its peers. T he capacity of adapting to contemporary stylistic change without losing sight of functionality and elegance, made Paul Storr one of the grandest names in European goldsmithing, and one whose path was defined by a constant search for excellence and artistic independence, thus consolidating his legacy as one of the greatest goldsmiths in British history. T he lot that we are now presenting for sale at auction, dating from the early 19th century, is, for its dimension and classic design, an excellent example of Paul Storr’s unique talent.

Literature: Charles Oman, English Silversmiths and Their Marks During the Eighteenth Century, Oxford University Press, 1947. Timothy Schroder, The National Trust Book of English Domestic Silver, Penguin, 1988. Arthur Grimwade, London Goldsmiths 1697-1837: Their Marks & Lives, Faber & Faber, 1990. 143 142 Royal Collection Trust, www.royalcollection.org.uk

TIAGO FRANCO RODRIGUES